Funny Girl Har Premiär 4 September

Total Page:16

File Type:pdf, Size:1020Kb

Funny Girl Har Premiär 4 September GLITTRIG MUSIKAL MED KÄNDA NAMN I höstens stora glittriga showmusikal spelar Sanna Nielsen den udda stjärnan som tar Broadway med storm! Vi kommer också se älskade artister som Marianne Mörck, Ann-Louise Hanson och Johan Rabaeus samt förstås välkända ansikten från Malmö Opera som Oscar Pierrou Lindén, Michael Jansson, Annica Edstam, Carina Söderman m fl. Funny Girl har premiär 4 september. MUSIKALEN OCH FILMEN Funny Girl är en amerikansk Broadwaymusikal från 1964. Den är löst baserad på artisten Fanny Brices liv. Hon dansade och sjöng i de legendariska Ziegfeld Follies-showerna på 1920-talet och blev en känd filmstjärna och komiker. Handlingen kretsar kring hennes karriär och hennes stormiga äktenskap med entreprenören och gamblern Nicky Arnstein. Musikalen spelades tre år i sträck, totalt 1 348 föreställningar, och nominerades för åtta Tony Awards. Succén berodde till stor del på huvudrollsinnehavaren Barbra Streisands fantastiska rollporträtt av Fanny Bri- ce. Hon repriserade rollen när musikalen öppnade i Londons West End 1966 och även i filmatiseringen av mu- sikalen två år senare. Även filmen blev en stor succé. Streisand vann en Oscar för bästa kvinnliga huvudroll och filmen nominerades för ytterligare sju Oscars. Streisand vann också en Golden Globe, en David di Donatello och nominerades för ytterligera priser. Funny Girl förändrade hur kvinnor, i synnerhet judiska kvinnor, porträtterades i film och teater. I sin roll får Barbra Streisand vara smart, rolig, vacker och talangfull. Hon är inte beroende av män (snarare tvärtom) och hon töjer på gränserna hur en kvinna får uppföra sig. SALONG OCH SPRÅK Funny Girl spelas i A-salong med orkestern i orkesterdiket. Musikalen framförs på svenska med både engelsk och svensk text. Textmaskinerna sitter ovanför scenen. Fanny i 20-årsåldern, som Baby Snooks och tillsammans med Nicky Arnstein. FANNY BRICE Fanny Brice föddes som Fania Borach 1891 i New York. Hon började redan som ung uppträda i shower och varietéer, först som balettflicka och senare som sångerska. I de sena tonåren upptäcktes hon av den legenda- riska showproducenten Florenz Ziegfeld. Han anställde henne i sin revy, där hon fick sitt stora genombrott 19 år gammal. Fanny stannade i Ziegfeld Follies i 13 år och blev ett känt namn med sånger som My Man, Second Hand Rose och I’d Rather Be Blue (alla tre finns med i musikalen Funny Girl). Förutom sina många framträdanden på teaterscenen, skapade Fanny en mycket populär radioshow kallad The Baby Snooks Show. Hon gjorde också filmer under 20-, 30- och 40-talet, bl a My Man, Den store Ziegfeld, Hela världen sjunger och Ziegfeld Follies. Fanny var gift tre gånger; med barberaren Frank White, affärsmannen Julius ”Nicky” Arnstein (som porträtteras i Funny Girl) och låtskrivaren Billy Rose. FILMKLIPP MED FANNY BRICE I’d rather be blue www.youtube.com/watch?v=_62pKiiVSIs I’ve got a feeling I’m falling www.youtube.com/watch?v=HCnckV2gEyQ Fanny som Baby Snooks tillsammans med Judy Garland: Why because! www.youtube.com/watch?v=4RlBJ8PbKuM Anna Held, Billie Burke och Lillian Lorraine . ZIEGFELD FOLLIES Ziegfeld Follies var mycket populär scenshow, eller snarare flera olika shower i samma stil, som spelades på Broadway mellan 1907 och 1931 (och några enstaka produktioner senare under 30-talet). Showen skapades och drevs av Florenz Ziegfeld, ”Impresario Extraordinaire” som han kallade sig själv. Scenen dominerades av hans ”follies” – unga, vackra kvinnor som uppträdde tillsammans med tidens stora stjärnor i överdådiga kostymer och ganska mycket naken hud. Enbart skönhet räckte inte för att bli en follie, man måste också kunna sjunga och dansa. Bara de allra bästa talangerna antogs. Under de år showen varade gjorde över 15 000 kvinnor audition men bara 3 000 anställdes. Flera av dem blev själva berömda, bl a Fanny Brice, Lillian Lorraine och Billie Burke. Förutom alla dyrbara gåvor de överöstes med av sina fans hade de också en ansenlig lön. Jessica Reed sägs vara erans högst betalda artist, med en lön på 125 dollar i veckan (ungefär 15 000 kronor i dagens penningvärde). Många gick också vidare till framgångsrika karriärer inom film och showbusiness. FLORENZ ZIEGFELD Mannen bakom showen, Florenz Ziegfeld, mötte Music Hall-stjärnan Anna Held i London 1896. Hon var en vacker och populär artist som inte var rädd för att visa benen. Hon var redan gift, men Ziegfeld tog henne med till New York som sin ”fru”. Han hade näsa för marknadsföring och lyckades få pressen att skriva om Anna redan innan de anlände. Bland annat påstod han att hon hade opererat bort flera revben för att få sin berömda 46-cen- timeters-midja. Med Anna som stjärna skapade han en Broadwayshow som sedermera blev Ziegfeld Follies. Äktenskapet med Anna höll inte – Ziegfeld odlade en extravagant livsstil, var ganska slösaktig och inte den trogna typen. Han uppmuntrade också sina follies att ha en överdådig livsstil. Och räckte inte det kunde han alltid påstå att hans stjärnor badade i mjölk, eller någon annan story som pressen genast satte tänderna i. FRIGÖRELSE OCH OBJEKTIFIERING Under 1920-talet ökade den sexuella friheten för kvinnor, och Ziegfeld Follies drog säkert sitt strå till stacken. Men showen bidrog samtidigt till en objektifiering av kvinnokroppen, ’the follies’ var den tidens pin-up- flickor. Den sista levande Ziegfeld-flickan, Doris Eaton Travis, menade i en intervju att de flesta follies bara hade glada minnen av sin tid i showen. De fick leva sin dröm med glamour och berömmelse, och kände sig snara- re stärkta i sin sexualitet än utnyttjade och objektifierade. Många av dem kom från fattiga familjer, och livet med Ziegfeld Follies gav både en bättre ekonomi och ett ökat självförtroende, som de bar med sig hela livet. FILMKLIPP Hur kunde showerna se ut? Här kan du se en filmsekvens från 1929,Ziegfeld Style Finale https://www.youtube.com/watch?v=NPdSQ8AZ4Z4 KURIOSA SEXDAGARSKRIGET I filmen spelas Nick Arnstein av egyptiske Omar Sharif. När sexdagarskriget mellan Israel och Egypten bröt ut 1967 ville studions ledning byta ut Omar mot en annan skådespelare, men både regissören och Barbra Streisand hotade med att hoppa av om så skedde. När en bild från filmen med en kärleksscen mellan Fanny och Nick publicerades, startade egyptisk press en kampanj för att dra in Sharifs egyptiska medborgarskap. När Streisand tillfrågades om kontroversen svarade hon: ”Ni tycker Kairo reagerade starkt? Då skulle ni se brevet jag fick från min faster Rose!” MUSIKALEN OCH VERKLIGHETEN Handlingen i musikalen skiljer sig en del från Fanny Brices liv. Hennes första make nämns inte och Nick Arnstein skildras ganska snällt i förhållande till verkligheten. I musikalen begår han brott för att hans stolthet inte tillåter honom att leva på sin frus pengar, han överlämnar sig själv till polisen och erkänner sig skyldig. I själva verket levde han på Fannys tillgångar redan innan de var gifta. Han gömde sig för att inte åka fast och när han slutligen gav upp sade han sig vara oskyldig, vilket gjorde att Fanny fick betala dyra rätte- gångskostnader. HANDLINGEN I KORTHET Musikalen utspelar sig i New York före och efter Första världskriget. Fanny Brice, stjärna i Ziegfeld Follies, tänker tillbaka på sitt liv medan hon väntar på sin man som ska släppas ur fängelset. AKT I Tonåriga Fanny får sitt första jobb i en vaudeville. Hennes mamma med väninna tycker hon ska överge sina scendrömmar, hon har inte rätt utseende. Men Fanny envisas med att hon kan bli en stor stjärna och får stöd av kollegan Eddie. Fanny får jobb i Ziegfeld Follies och hennes karriär tar fart. Mamman och Eddie menar att de har lärt henne allt, men nu när hon är stjärna kommer hon säkert att glömma bort dem. Fanny ska göra en romantisk scen i Follies men förvandlar det till komedi. Ziegfeld blir först arg, men förstår sen att hon har stor komisk talang. I samband med en premiärfest möter Fanny den stiliga Nick Arnstein. De möts igen i Baltimore och äter mid- dag tillsammans. Fanny blir djupt förälskad och är fast besluten att gifta sig med Nick, trots hans förflutna som gambler. AKT II Efter bröllopet flyttar paret till ett stort hus på Long Island. Fannys mamma får underhåll av sin dotter. Hennes väninna och Eddie tycker att mamman också borde gifta sig, nu när hon är vid stadd kassa. Fanny har blivit Ziegfeld Follies stora stjärna. Nick vill att Ziegfeld ska investera pengar i ett kasino. Han avstår, men Fanny insisterar på att stötta Nicks affärer. Allt går om intet och paret förlorar alla sina pengar. Fanny för- söker ta lätt på saken och hålla deras humör uppe, vilket leder till att Nick blir involverad i nya skumraskaffärer. Han blir arresterad och trots att Fanny känner sig helt hjälplös älskar hon honom fortfarande. Tillbaka i nutid väntar Fanny på att Nick ska bli frigiven från sitt fängelsestraff. Hon har haft tid att reflektera över deras liv. När hennes man äntligen kommer hem beslutar de sig för att separera. Fanny är förtvivlad men bestämmer sig för att inte låta sig knäckas utan leva sitt liv fullt ut..
Recommended publications
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • Bellarosa Connection and the Hazards of Forgetfulness
    The Bellarosa Connection and the Hazards of Forgetfulness Kathleen Jeannette Weatherford University of Copenhagen Saul Bellow's 102.page paperback The Bellarosa Connection represents a tour de force true to the spirit of the man whose name in its Italian corruption inspires the book: Billy Rose, the broadway impresario and "the business partner of Prohibition hoodlums, the sidekick of Arnold Rothstein; multimillionaire Billy, the protkgk of Bernard Baruch, the young shorthand prodigy whom Woodrow Wilson, mad for shorthand, invited to the White House for a discussion of the rival systems of Pitman and Gregg; Billy the producer, the consort of Eleanor Holm, the mermaid queen of the New York World's Fair; Billy the collector of Matisse, Seurat, and so forth . nationally syndicated Billy, the gossip columnist."1 Billy Rose, the man who was into everything, makes an unlikely appearance in Bellow's show as clandestine savior of European Jews from the Nazi Holocaust. Rose is the first real historical personage to play a major role in his own name in Bellow's fiction, and thus with The Bellarosa Connection, Bellow initiates himself into a group of American fiction writers, including E. L. Doctorow, Gore Vidal and William Styron, who imaginatively combine historically real people together with fictional ones. Like Billy, Bellow is "all over the place"2 with this book. Not only does Bellow make an exploratory foray into the genre of semi-historical fiction, but he also experiments with a new narrative perspective as well. 1 Saul Bellow, The Bellarosa Connection (New York: Penguin, 1989), p. 12. The Bellarosa Connection has also bccn rcprinled as part of Bcllow's Something to Remember Me By: Three kles (New York: Signet, 1991).
    [Show full text]
  • Asolo Repertory Theatre Presents Fanny Brice, America's Funny Girl
    For Immediate Release: April 24, 2012 Media Contact: Steph Gray, Public Relations Coordinator 941.351.9010 ext. 4800; [email protected] Asolo Repertory Theatre presents Fanny Brice, America’s Funny Girl (SARASOTA, Fla.)- Before there was a Lucy or Ethel, Gracie Allen or Imogene Coca, Fanny Brice was the female comic superstar. Fanny Brice, America's Funny Girl will be open May 23, 2012 and run until June 17, 2012. Previews begin May 20. Fanny Brice, America’s Funny Girl is a reworking of Maltz Jupiter Theatre’s 2009 hit production Fanny Brice: The Real Funny Girl. Writer and Director David H. Bell modified the script and is bringing Asolo Rep the most inspiring version yet. TCPalm raved, “Marya Grandy may not be the real Fanny Brice…but she just might be a new version of Ethel Merman. That’s with a little Patti LuPone and the emotional singing delivery al a Judy Garland tossed in for good measure”. WJTW FM said “what really brought the audience to its feet for a standing ovation however was the finale…it doesn’t get any better than that.” Born Fania Borach on the Lower East Side of New York City in 1891, Brice began her career on stage with a burlesque troupe at the age of 17. Two years later she was headlining for the Ziegfeld Follies, and by 1921 she released her signature song, “My Man.” Brice became one of the biggest comedic stars to grace the stage, yet her personal life wasn’t as successful, with heartache and betrayal followed her at every step and her three marriages all ending in divorce.
    [Show full text]
  • One Night with Fanny Brice
    The American Century Theater presents Audience Guide Edited by Jack MarshallNovember 5–27 Rosslyn Spectrum Theater you can afford to seesee———— ppplaysplays you can’t afford to miss! About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, but overlooked American plays of the twentieth century . what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to surrender our moorings to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all Americans, of all ages, origins and points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These audience guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. The American Century Theater is a 501(c)(3) professional nonprofit theater company dedicated to producing significant 20th Century American plays and musicals at risk of being forgotten. The American Century Theater is supported in part by Arlington County through the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources and the Arlington Commission for the Arts. This arts event is made possible in part by the Virginia Commission on the Arts and the National Endowment for the Arts, as well as by many generous donors.
    [Show full text]
  • “We Rule the Waves”
    “We Rule the Waves” Athletic Labor, Femininity, and National Collective in Billy Rose’s Aquacade Yasmine Marie Jahanmir We’re gonna heal. We’re gonna start again. You’ve brought the orchestra, synchronized swimmers. — Warsan Shire, “Hope” (in Beyoncé 2016b)1 On 6 February 2016, Beyoncé shocked the popular culture world with her most explicitly polit- ical artistic work to date when she released a surprise video for her new song: “Formation.” The video begins with the image of Beyoncé lounging atop a sinking police car in post-Katrina New Orleans. At 1:23 in the video, rows of black women similarly dressed, all with their hair curly and natural, sit at the bottom of an empty pool and for the next 37 seconds, the beat car- ries the viewer as the video cuts in and out of the pool scene. Beyoncé appears in the second shot of the pool among the dancers, their biceps flexed in a bodybuilding pose. They sharply place their right, flexed arms above their heads for a moment before they lower their arms 1. Verse from the poem from Beyoncé’s visual album Lemonade (2016b). Figure 1. Rehearsal for Billy Rose’s Aquacade. The embodied practice of coordinated stroking in rehearsal and performance helped to generate feelings of solidarity. (Billy Rose Theatre Division, The New York Public Library for the Performing Arts) TDR: The Drama Review 61:3 (T235) Fall 2017. ©2017 112 New York University and the Massachusetts Institute of Technology Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00676 by guest on 23 September 2021 slowly and gracefully, their fingers fanning out à la Bob Fosse from their tightly clenched fists.
    [Show full text]
  • ST. JAMES THEATER (Originally Erlanger Theater), 246-256 West 44Th Street
    Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1374 ST. JAMES THEATER (originally Erlanger Theater), 246-256 West 44th Street. Built 1926-27; architects, Warren & Wetmore. Landmark Site: Borough of Manhattan Tax Map Block 1015, Lot 54. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the St. James Theater (originally Erlanger Theater) and the proposed designation of the related Landmark Site (Item No. 70). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The St. James (built as the Erlanger) Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Built in 1926-27, the St. James was designed by the prominent firm of Warren & Wetmore as the last Broadway theater erected for Abraham Erlanger. Abraham Erlanger had been a principal in the infamous Klaw & Erlanger Theatrical Syndicate, which had dominated the American theater industry for several decades on either side of the turn of the century. After the break-up of the Syndicate, Klaw and Erlanger went their separate ways, and each built theaters named for themselves.
    [Show full text]
  • {PDF EPUB} Wine Women and Words by Billy Rose Wine Women and Words by Billy Rose
    Read Ebook {PDF EPUB} Wine Women and Words by Billy Rose Wine Women and Words by Billy Rose. B1559. BILLY ROSE. Wine, Women and Words � [illustrated by Salvador Dali] [Autobiography]. New York, Simon & Schuster, 1948. 295pp. DJ. Front Endpaper Autographed by Billy Rose. �William �Billy� Rose was an American impresario, theatrical showman and lyricist. For decades preceding and immediately after the Second World War Billy Rose was a major force in entertainment, with shows, such as JUMBO (1935), BILLY ROSE'S AQUACADE, and CARMEN JONES (1943), his Diamond Horseshoe nightclub, and the Ziegfeld Theatre influencing the careers of many stars. Billy Rose was inducted as a member of the Songwriter's Hall of Fame. In 1943, he produced CARMEN JONES with an all-black cast. An adaptation of Bizet's opera CARMEN, the story was transplanted to World War II America by lyricist and librettist Oscar Hammerstein II. It was an instant hit. The New York Telegraph called it �far and away the best show in New York�; The New York Times said it was �beautifully done . just call it wonderful�. The New York Herald Tribune said that Oscar Hammerstein II �must be considered one of the greatest librettists of our day� and that CARMEN JONES was �a masterly tour de force�. It was made into a motion picture in 1954, for which Dorothy Dandridge received an Academy Award nomination. In 1946 Rose's memoir WINE, WOMEN AND WORDS, dedicated to Rose's early patron Bernard M. Baruch, was published in New York by Simon and Schuster. The book was illustrated, including the cover of the numbered and signed first edition of 1500 copies, by Salvador Dal� whom Rose met while producing events at the 1939 World's Fair.� Salvador Dali’s Illustrations for the ‘Little Napoleon of Showmanship’ Billy Rose’s Autobiography.
    [Show full text]
  • Fanny Brice and the “Schnooks” Strategy: Negotiating a Feminine Comic Persona on the Air
    Michele Hilmes Fanny Brice and the “Schnooks” Strategy: Negotiating a Feminine Comic Persona on the Air No one could claim that the career of Fanny Brice here is Kate Smith—in a system that preferred has been overlooked. Frequently in the news its female stars as secondary sidekicks (Mary during her long career—more for her private than Livingstone to Jack Benny, Portland Hoffa to Fred her professional life—she has been the subject Allen), relatively humorless “straight women” to of three biographies, numerous popular articles, their partner’s comic lead (Molly in Fibber McGee and several major motion pictures.1 The fact that and Molly), or as the recurring “dumb dora” of most of these efforts have stirred controversy only vaudeville mixed-pair comics (most famously, seems to reflect the tempestuous and contradictory Gracie Allen). Within this carefully delimited life of their heroine, whose career from ethnic containment of the disruptive potential of women’s burlesque to legitimate stage to radio spans more humor, Brice stands out. In her early years on than thirty years and three dramatic marriage-and- NBC in the Chase and Sanborn Hour (1933) divorce scenarios. Amidst the drama of Brice’s and on the Ziegfeld Follies of the Air (CBS 1936) life, and the colorful anecdotes of her role in Brice’s was a woman’s voice speaking humorous the lives of such showmen as Florenz Ziegfeld and sometimes bawdy lines, directing attention and Billy Rose, her most enduring contribution both to her gender and to her ethnicity, defying to popular entertainment—the comic character bounds of taste and appropriate feminine behavior.
    [Show full text]
  • WE CAME HERE to SHINE by Susie Orman Schnall
    WE CAME HERE TO SHINE by Susie Orman Schnall About the Author • A Conversation with Susie Orman Schnall A Behind the Novel Reading • Fun Facts About the New York World’s Fair Group Gold of 1939 Selection Keep On Reading • Recommended Reading • Reading Group Questions Also available as an audiobook from Macmillan Audio For more reading group suggestions visit www.readinggroupgold.com. A Conversation with Susie Orman Schnall Could you tell us a little bit about your background, and when you decided that you wanted to lead a literary life? I’ve loved books as long as I can remember . Shel Silverstein, Beverly Cleary, Judy Blume. I’ve read them all. And though my favorite authors have changed, that love of reading is still strong today. After college, I worked for magazines, internet companies, advertising agencies, and nonprofit organizations doing marketing and corporate communications. It wasn’t until after my youngest son started kindergarten that I even considered writing fiction. Four books later, I’m so happy I pivoted and became an author. Is there a book that most influenced your life? Or inspired you to become a writer? At the time I was writing my first novel, I was highly moved by and influenced byThe Middle Place by Kelly Corrigan. Throughout the years, though, so many books have influenced me—the way I think, the way I see the world, the way I see my place in the world. And so many books have provided me an opportunity to laugh, cry, and connect with humanity at large. Some of my all-time favorite books include: anything by Jane Austen or Jeffrey Archer, Becoming by Michelle Obama, Eat Pray Love by Elizabeth Gilbert, The Help by Kathryn Stockett, Homegoing by Yaa Gyasi, Daisy Jones & The Six by Taylor Jenkins Reid, and Small Great Things by Jodi Picoult.
    [Show full text]
  • "T'morra,' T'morra"': the 1940S Broadway Period Musical and Progressive Nostalgia in Bloomer Girl Maya Cantu
    "T'morra,' T'morra"': The 1940s Broadway Period Musical and Progressive Nostalgia in Bloomer Girl Maya Cantu Billed as a "Modern Musical Comedy with Old-Fashioned Charm," the Civil llar-sef Bloomer Girl (1944) followed Oklahoma! as part of a lVorld llar ll-era cycle of Broadway musicals steeped in period Ameri- cana. This article argues that Bloomer Girl---connecting Jirst-wave feminism to Rosie the Riveter, and the abolitionist movement with civil rights-offired a complex vision of progressive nostalgia, advancing atopian aims of social justice that anticipale Finianos Rainbow. daOOOox While Rodgers and Hammerstein's Oklahoma!legendarily changed the course of American musical theater through the historical canonization of the "integrated musical play," the 1943 musical also had more immediate effects in the commercial arena of the Broadway musical. The monumental hit status of Oklahomal launched a substantial World War Il-era cycle of Broadway musical plays steeped in folkloric visions of the American past: what critic Louis Kronenberger predicted in 1944 as 'oa vogue, a cycle, perhaps an orgy of costume pieces." Indeed, by the time the 1910s-set musical comedy High Button Shoes opened in October of 1947, following such shows as Carousel (1945), Up in Central Park (1945), and Brigadoon (1947), George Jean Nathan observed, "In the last five seasons, twenty- Maya Cantu is a recent graduate of Yale School of Drama, where she received her DFA in Dramaturgl,t and Dramatic Criticism in 2014, and her MFA in 2010. Her dissertation is entitled, "Working Girls, Gold Diggers, Broads, and Boss Ladies: Cinderella Mythologies of the American Musical Stage, I9l9-1959." Maya's writing has been published in Studies in Musical Theatre, Theatre Journal, The Sondheim Review and as part of the New York Public Library's Musical of the Month series.
    [Show full text]
  • Carmen Jones" Affain"
    The El "Canmen Jones asunto "Carmen Jones" affain" I T has been talked about, a lot SE ha hablado, se ha hablado perhaps even too much and the mucho, quizás demasiado, de Carmen Jones affair as it has lo que han llamado el been called has attained such pro- « asunto Carmen Jones », y este portions that not only do we esteem « asunto » ha tomado tales propor- it worth while but we believe it to ciones que no sólo creemos útil sino be our duty to say a few words about también necesario comentarlo breve- it in the review whose praiseworthy mente en esta revista que tiene la mission is to bring copyright to the noble misión de dar a conocer el de- notice of the whole world. recho de autor en todas las partes del mundo. What is it all about ? Of the protec- tion in Europe of an American film ¿ De qué se trata ? De la presen- tación en Europa de una película realized by Otto Preminger from a americana realizada por Otto Premin- show staged in Broadway by the ger según un espectáculo teatral es- theatrical producers Billy Rose and trenado en Broadway por los produc- Oscar Hammerstein under the title of tores dramáticos Billy Rose y Oscar Carmen Jones drawn from the cele- Hammerstein bajo el título Carmen brated comic opera of Bizet, Carmen. Jones inspirado en la célebre ópera The cinematographic scenario is by de Bizet : Carmen. El guión cinema- tográfico es de Harry Kleiner y unos Harry Kleiner, new songs replace the nuevos lyrics sctstituyen el libreto de words of Meilhac and Halévy and Meilhac y Halévy.
    [Show full text]
  • Funny-Girl Study-Com
    The Jefferson Performing Arts Society Presents 1118 Clearview Parkway Metairie, LA 70001 504-885-2000 www.jpas.org 1 | P a g e Table of Contents Teacher’s Notes………………………..………………………..……..3 Standards and Benchmarks…………………………...……….…..6 Background…………………………………….…………….……..……7 Funny Girl: the Ratios of FACE, PART 1 ………………..……..66 Funny Girl: the Ratios of FACE, PART 2 ……………………..102 Additional Resources………………………………….……….…..108 2 | P a g e Teacher’s Notes Book by Isobel Lennart, Jule Styne, and Bob Merrill Music and Lyrics by Bob Merrill and Jule Styne Directed by Butch Caire Choreography by Lori Flanders Musical Direction by Dr. Donna Clavijo Featuring the JPAS Symphony Orchestra conducted by Maestro Dennis G. Assaf The greatest star, the ultimate people person…. the story of beloved comedienne Fanny Brice begins with her irrepressible youth in New York’s Lower East Side, where the stage-struck teenager clowns her way through burlesque and vaudeville, with dreams of making it big. Despite the discouragement of her friends and neighbors, who tell her that she isn’t pretty enough for the stage, she holds on to her conviction that she is “…the Greatest Star” and works diligently to make this dream come true. After meeting Nick Arnstein, a handsome and charismatic gambling man with a gentle side, Fanny immediately falls in love. And with her big break in the Ziegfeld Follies on the horizon, the stardom she has always longed for is within her grasp. Her only problem… the elusive Nick Arnstein, ignorant of her affection, is always leaving town on some “business” venture. A triumphant 3 | P a g e story of starry success and a bittersweet story of love, Jule Styne and Bob Merrill’s Funny Girl is a musical theatre classic which celebrates the exuberant and elegant flavor of Broadway in the 1910s and 20s and the comic genius of Fanny Brice.
    [Show full text]